In the book, “At the Piano with Haydn” edited by Maurice Hinson, published by Alfred 1990, this piece is described ‘numerous syncopations and sudden dynamic changes add interest to this cheerful piece. It provides and excellent opportunity for the elementary pianist to practice articulation. Chords, repeated notes, octaves, skips and scalic patterns are some of the technical challenges that occur’.
Character/story of the piece - given that this piece Haydn transcribed from one of his most successful string quartets, the player should consider which parts are being played by the instruments of a string quartet, the two violins, viola and violincello. In addition to this, the player should have a story that they are wishing to convey to the listener with different melodic material projecting different characters. For example, in the first section the two phrases have a question and answer character. In these phrases there are two characters talking to each other about a game they wish to play. At the start of the development, all of the characters are getting ready to play the game. From the end of bar 13, the players could be looking for each other with a regrouping at the start of the recapitulation. Following the return of the original theme, the players again are looking for each other with a triumphant ending where all the players express their enjoyment at playing the game. The last chords could represent all the players patting each other on the back.
Portrait of Joseph Haydn by Thomas Hardy 1791, Royal College of Music Museum of Instruments, in Public Domain, Wikimedia Commons.
Obviously a discussion is required as to what scherzando means and how this applies to this piece in particular is crucial. If played at an appropriate speed with strict observance of the rests, articulation and dynamics the playful, joking and light-hearted character will be projected.
It is useful to consider some of the characteristics of Haydn’s music and how these are featured on this particular piece. Often there are sforzandos contained in his music, this is not the case in this piece however the accents used in bars 8 and 10 could be considered sforzandos. These must be played in accordance with the context they are in. Haydn’s rhythms can sometimes be march-like and at times have a stomping character. This piece is in duple time which provides the pieces with a march-like character. His music often contains dotted rhythms and triplets and it performance, rhythmic vitality and precision are of utmost importance. Haydn does not sue either of these features in this piece however he constantly has melodic patterns commencing on the half-beat. Silences have a particular importance in Haydn’s music, sometimes Haydn will build up to a climax followed by a dramatic silence or he will suddenly stop mid-air leaving the listener in suspense. There are two instances nearer the end of the music where Haydn writes a quaver rest in both hands simultaneously providing the music with an air of excitement. Haydn often uses Alberti patterns in his music as well as leaping chordal patterns, usually in the LH and also leaping octaves. This is certainly true in this piece. And lastly, although Haydn’s melodies are not as melodic and poised sounding as Mozart’s, his melodies have considerable rhythmic intensity and this can be found in this music.
Form - this piece is in sonata form, with the first section, the exposition, being 8 bars long which is repeated. This of course, is not necessary in the examination. The piece is in F major however by the end of the first section, the piece has modulated to C major. At the start of the second section, the development commences in G minor before abruptly returning to F major. Later in the development, there is a modulation to C major before returning to F major prior to the beginning of the recapitulation. The piece remains in F major for the rest of the piece.
Main part of the music - this piece has a cumulative character, with the melodic material and dynamics building to the final four emphatic chords. The last chord should be played at a fortissimo dynamic although the dynamics used in this piece must be played within the context of the Classical Period. Each section should have a focal point too.
Phrasing - all of the phrases commence with an upbeat, the half-beat quaver. The player should consider how this contributes to the character of the music. Most of the phrases in this piece are four bars long however the phrases at the end of the development and recapitulation are longer which contributes to the air of expectancy at these points.
Tempo, time signature and rhythmic patterns - the suggested speed of 116 crotchets per minute is appropriate. If played too slowly the music will lack vitality, energy and vigour as well as not portraying the scherzando character. However, if played too fast it could sound trivial and frivolous and some of the details could be lost as a result. As discussed before, the duple time signature provides a march-like quality to the music. There are no particularly tricky rhythmic patterns contained in this music however some players may find playing the semiquaver patterns evenly a concern. And, the upbeat at times should be played with lightness however at other times it needs to be played with a little emphasis so the player must always be aware of how these notes are being played. The rests are extremely important; there is a danger that a player may hold some notes on for too long. The positioning of the two-note slurs provides the music with a syncopated effect.
Touch/Articulation - this piece demands the use of an intense, energetic touch using curved fingers supported by a supple wrist and the arm positioned to provide the player with space to manoeuvre with ease. There will be some occasions where the player will need to provide some weight from the shoulder so that a two-note slur can be played effectively or notes of a chord can be highlighted. The two-note slurs are a constant feature in this piece and their placement on the half-beat and over the bar lines in many instances is an important aspect of the music. In some instances the player is required to play the second note of the two-note slur louder than the first which to a certain extent is contrary to the usual playing of a two-note slur. This is particularly apparent at the start of the development. All of the articulation details must be strictly observed and the listener must be aware of the difference of the detached notes and chords, either on their own or at the end of a slur. And, some of the staccato dots are applied on crotchets and quavers, the difference must be noticeable for the listener. Nevertheless, the player should always consider that any accents applied are within the context of the music and its character.
Balance between the hands - although there are parts in this piece where the music has a traditional melody versus accompaniment occurring, there are other instances where the hands are equal in balance. For example, in the first phrase of the development the hands should be mostly equal in balance however the top notes of the RH chords should be highlighted. The subsequent phrase requires the same approach before returning to RH balance in the next phrase. From bar 20, Haydn has written a phrase where the hands ‘answer’ each other. In the recapitulation section, both RH balance and equal balance is employed; this is one of the ways Haydn projects the scherzando quality of the piece.
Dynamics - constantly changing the dynamics also contributes to the character of the piece. The player should not neglect the level of the dynamics in the LH, a small change in the LH will make a significant difference to the overall dynamics. Considering that this music is from the Classical Period, the dynamics used should be within the context of the period.
Agogic features - clearly this is not a main feature of this piece, however a couple of short ritardandos at the end of the development and in the final bar will be appropriate. There is a danger that the player may allow a pause in a bar such as bar 12, at the end of the three repeated chords. This must be avoided, the music must have a momentum that feels slightly relentless and determined.
Considerations when playing this piece -
The player needs to have a reasonably large hand to be able to play this piece with comfort.
There are times when the hand or hands are required to be placed well-forward so that the black notes can be played with ease.
There is an extremely complex change for the end of the exposition to the beginning of the development. There are a number of instances in this piece where the player must be looking ahead to where their hands have to move for the next melodic pattern.
There is a danger that some of the chords are not completely coordinated when played.
Some players may want to move their body on the piano stool; clearly this is not advisable.
There are some repeated notes in this piece, the player must consider the direction these notes are taking and using dynamics accordingly.
The dynamics should never sound aggressive; the music must always have a cheeky, slightly irreverent character.
Any single melodic line needs to have a feeling of direction.
The dynamics should change at the start of the recapitulation in comparison to what were used at the beginning of the music.
In bars 30 - 42, Haydn to a certain extent ‘plays’ with the listener as the music takes its time in working towards the final four chords.
Some players may find the cross-over of the treble G a little tricky in bar 35.
The dynamics of the bass notes in the final three bars should become louder.